20200225

They, a recovering survivalist with limited means, halted at the border control and tasked to polish their gems for an inspection. Being smart about it they had already disposed, or digested rather the stolen ones before entry and yielded only proper fossils on their wrists. There might have been some crumbs left from the stolen ones but not enough to reveal whose they were. Fake skin bubbles in metal crusts passed by at astonishing speeds, so the border controller had shout to be heard. Not that it mattered, they knew the questions and how to answer, or deliver rather and begun the recitation.

– “All stones are of the same age”. They started.
– “All stones are of the same age, to you” the inspector replied and the noise prevent them to be heard.
– “Back way back when, when folk still dusted cow brain peels with silver and children sat in silence watching light trough them. A promise was made that a figure would appear which would lead us to a glorious death. I’m a bearer of the peels and the glues.” They handed in their documents and took a step back.
– “I’m a bearer of the peels and the glues, to you” the inspector murmured and performed the stamps.

Both were pleased that the ceremony was easy and so they continued to the line, waited for their shovel and headed to the antibiotic hills. The work was hard, as expected and shovelling took its toll. They proceeded trough the rubble and junk, passing layers of old newspapers but were wise enough not to waste time reading any. Remembering what Outi Heiskanen had told them, that text is not supposed to be read. It is meant to line the edges of the pit, so that it does not cave in.

A gem, which one night returned to them by means of interior circulation, reminded them of a happy summer night. After a glass of wine Heiskanen had asked out loud “Eero, how do you build a house?”. They remembered replying something, knowing it was irrelevant as Heiskanen knew the only answer: “You start digging… In a day or two a man comes by and they will tell you that you are not doing it right. Then quickly, challenge them, hand the shovel. Go to lunch and wait for the house to be completed. Here have a look“.

They had studied the material but doubted that they were building a house now. If they were, the shape of the construction was such that nothing imaginable could survive in it. They were not responsible for the remains they were leaving behind. They were here for the antibiotics and nothing else. The medicine was to be found in the droppings of privileged pets of the past. The beasts that had been medicated by high tier professionals of glory days. If the blue rim, surrounding the pile were to be scraped off successfully and digested, it could heal them. They were after a motherload.

In the pit of an inverted skyscraper, lined with white sheets. They kept on digging as if they had understood Heiskanen right, it would get better soon.

20200125

Eco-National Discourse and the Case of the Finnhorse (2014) Nora Schuurman & Jopi Nyman. The article points to a striking position Suomen Hippos ry (The Finnish Trotting and Breeding Association) made “[…] SWOT analysis of the Finnhorse as a brand […] sees the potential rise of nationalism as an opportunity: ‘If national phenomena will become a trend, the Finnhorse may also become a trend’ (Suomen Hippos 2008a.)”. I think the article can be read as an expose of the nationalistic agenda rooted in the Suomen Hippos ry organization. A discourse of Raceless-Horse Culture is due.

It has also been suggested that although equestrian culture enables flexible gender identities, it reproduces the traditional agrarian model of a hard working woman. Strong, even ‘masculine’ bodies are seen as physical capital among women who ride, as opposed to the urban feminine ideal.

The dominant version of Finnish self‐understanding, while outmoded yet guiding contemporary interpretations, as [Ari] Jääskeläinen points out, sees the nation as consisting of ‘soldiers, pioneers, and agrarians’ and was produced originally for the needs of the Swedish Empire in the eighteenth century.

This discourse of nationalism carries over to the contemporary documents, which place the Finnhorse explicitly in the context of nation, defining its Finnishness as one of the central characteristics in its internationalising brand (Suomen Hippos). In the general descriptions of the breed in these documents, the Finnhorse is defined as ‘genuine’, ‘unique’, ‘native’, ‘the national horse’, and ‘Finland’s only native breed’ (Suomen Hippos).

The relationship between the Finnhorse and the Finn of the text is also gendered: while the traditional stereotype of the Finnish male is that of a silent man who expresses his emotions by doing rather than by speaking, the relationship with the Finnhorse provides an otherwise sanctioned outlet for expressing emotions and care.

The article also offers an analysis of contemporary nationalistically geared horse themed schlagers (to which the Trans-Horse playlist offers great contrast). The publication is a part of the Companion Animals and the Affective Turn: Reconstructing the Human-Horse Relationship in Modern Culture – CONIMAL. 2011 – 2015 project.

I’ve been building sm-artwatches for a while by attaching pretty items to wristwatch straps. One watch has a wooded (gilded) frame with a fragment of a print by Outi Heiskanen, one has a fossil (which I also used as mineral supplement in performances), one has a coin from 1865 (10 Penniä) and one has spokes which I can attach fruits to (it’s measuring decay-time). This artistic interest has slowly evolved to an developing intrest in real watches and I now own three Casio wristwatches (One is fake, which is cool too). I bought the newest one on tori.fi for 2 euros, because I want to modify its inner workings: Casio W-800H mod.

I’m also curios of the illustrations found in the IED TRIGGER RECOGNITION GUIDE document (U.S. military or Department of Defense). The “Casio Watch Timer with Opto-Isolator” might be interesting to study as a circuit. I’d like to use the circuit to schedule electric shocks to myself.

A list of Ethical Open Source Licenses collected by the Ethical Source Movement (here is a list of the source criteria for software). Could work for other design too. I think emphasis on ecology should be added too. Perhaps something in lines of Permacomputing (2020) as defined by Ville-Matias “Viznut” Heikkilä.

[…] computers have been failing their utopian expectations. Instead of amplifying the users’ intelligence, they rather amplify their stupidity. Instead of making it possible to scale down the resource requirements of the material world, they have instead become a major part of the problem. Instead of making the world more comprehensible, they rather add to its incomprehensibility. And they often even manage to become slower despite becoming faster.

Computer systems should also make their own inner workings as observable as possible. If the computer produces visual output, it would use a fraction of its resources to visualize its own intro- and extrospection. A computer that communicates with radio waves, for example, would visualize its own view of the surrounding radio landscape.

20201014

I’m a member of team Responding to E-Mails since 2005. The only reason I get shit done is because I’ve responded enough to have been elevated to a plain where the default is to respond. I remember looking at awe as Outi Heiskanen responded to phone calls in any situation. She felt that it was a duty and was tormented when missing a call. I currently have two emails I’ve neglected to respond to and I bear the same guilt. The plains I’m working to reach next are team Citing and team Commenting on Blogs.

20191108

Knowledge-speculation During Climate Crises ­- ”When You Say We Belong To The Light We Belong To The Thunder” at EKKM (2019) Jussi Koitela.

[A]ddressing the climate crisis and crises caused by human agency and western thought, there is a need for exhibition methodology which handles much more complex and intersectional approaches than the current representational and politically reductive modes of presenting artworks, research, or critical discourses. In many cases, these models reduce the meanings of artworks and artistic research (which contain complex processes of experimentation and exploration, references to multidisciplinary theoretical conversations, and multivocal political debates) to discourses which highlight the most straightforward, and populistic aspects of the works.

What becomes evident after experiencing the exhibition is that it’s crucial for contemporary art institutions to support and foster long-term projects of curators, institutions, artistic researchers, and practitioners which manage to create new forms of knowledges regarding complex urgencies such as contemporary colonialism, climate chaos, and nationalism.

He seems very impressed by the exhibition curated by Heidi Ballet and hopes that it will serve as a point-of-departure for future exhibition making processes. I wish I’d share his optimism. I fear the process of “exhibiting” is categorically self-affirming. Exhibition architecture, so very rarely, allows people to discover themselves forming disruptive assemblies. They emphasize professional-flâneuring, which echoes work or more accurately faking working (which is faking knowing whats what). Exhibitions allow people to discard disruptive inputs. With “disruptive” I don’t mean violent.. More like, disruptive as in discovering how to be a parent. Every learning experience is disruptive and I think learning by doing is most effective (workshops are key).

We had our first exhibition building and sound-session with Johannes yesterday. We also visited Oksasenkatu 11 for the MEMExhibition by HYPERREAALIYAH. The artist has written an intriguing paranoia-inducing text kuinka lakkasin olemasta ja opin rakastamaan meemejä* (2018). We discussed how (or if) browsing internet has taught us to desensitized ourselves. Shared an anecdote from Outi Heiskanen, who recalled playing with severed horse testicles in her youth (her father was a vet). The balls bounced like we presently know plastics to behave.

Visited Timo Bredenbergs Without Friction exhibition at Muu gallery. I enjoyed his video, it felt like a an archeological excavation of present day financial capitalism executed from the future. We were presented with broken 3d renderings of New York City landmarks, important for the recent history of global economics. The architectural views were followed with text snippets, which felt like a future archeologist field notes and glimpses of shaky virtual hands, which attempted to interface with the information. The hand gestures echoed signs stock traders used in the past to signify transactions. I think the archeology of hand gestures in itself would be a really interesting exploration.

Digital Frictions: Where Code Meets Concrete (2019) Shannon Mattern. The article uses a still of Bredenbergs video as an illustration and explores the frictionlessness nature of economic-cities. As a reply for the text we could argue that creating patterns and shapes which refuse to align with contemporary spaces (both digital and tangible) is important, because odd designs cause friction, which is need for developing energy.

Every engine needs friction. I guess an analogy for accelerationisms would be “to purposely oil a machine until it looses friction”.

As an exercise for exploring friction: The hands of partisipants could be oiled (with olive oil) and they would be guided to touch each others hands, so that the frictionlessness, would cause the participants to loose awareness of the other persons touch.

20170905

Author Jari Ehrnrooth has written a hostile and offensive text: “Pahuuden kieltäminen ei auta” (Denying evil doesn’t help) and got it published through YLE, our national broadcasting company. The text is using the Turku attacks to target muslims and other religious groups. He claims that the attack in Turku was executed using “Isis-style knife handling” and that “islam is still an authoritarian and expansive world religion, which strictest forms include appalling amounts of mental submission, physical violence and murder”. He continues to speculate about a “righteous terrorist-mother, kissing her little-jihadist, who is send to the daycare center on a be-a-hero-for-a-day event wearing a fake-bomb-vest around his chest – As is happening in Gaza”.

I send a complaint to YLE which is responsible for publishing the text. Ehrnrooth holds the title of adjunct professor in the universities of Turku and Helsinki (he signed his text highlighting the title). I wrote to Thomas Wilhelmsson the chancellor of Hki Uni. and Professor of Cultural History Marjo Kaartinen in Turku, asking them to distance their universities and departments from Ehrnrooth. I got a sympathetic reply but I was explained that adjunct professor is a only a title and that the person is not employed by the university. The message also underlined the autonomy and right to freedom of speech of their researches. This was a weak argument. There is no “free speech” in relations others are targeted based on their religion. #ॐ

Send my Dude mixer back to Brno. Included a short letter explaining the problem and a postscriptum: “Ps. My favourite Czech performance artist is Jiří Kovanda. I’ve worked for an old Finnish lady Outi Heiskanen who had performed with a Czech group called Crusaders’ School of Pure Humour Without Joke in the 70ties. I own a hobby-anvil made from a tram-rail (made in and bought from Prague) and an axe manufactured in “Czechoslovakia”. I’ve visited Brno once, only passed through. Here is a video of me making macho-coffee in Prague 2009.”